Ibunda : Indonesian film directed by Teguh Karya

Ibunda

Ibunda is a 1986 Indonesian film directed by Teguh Karya. Telling of a family's struggles in Jakarta, it set a new record at the 1986 Indonesian Film Festival when it won nine Citra Awards.
The ethnic Javanese family headed by Rakhim is living in Jakarta and trying to make a living. Rakhim, a widow, is raising her youngest daughter, Fitri (Ria Irawan) with the help of her 2nd child. Her eldest, Farida (Niniek L. Karim), has married the nouveau riche Gatot (Galeb Husin). Meanwhile, the 3rd child, Zulfikar (Alex Komang), has become an actor.
Two issues arise at roughly the same time. Zulfikar has left his wife and young child for a cougar with whom he is sleeping to further his career. Meanwhile, Farida berates Fitri for her choice of boyfriend; her boyfriend, Luke, is Papuan, and Farida fears that their family's bloodline will be tainted. In response, Fitri runs away from home.
Ibunda was funded by the Subentra Group, headed by Sudwikatmono. According to Sudwikatmono, the group funded the production of five films simultaneously, each directed by different people. Teguh Karya was selected to direct Ibunda, which he had also written, while the other four were handled by young directors. The film was produced by Satrya Perkasa Esthetika Film and Suptan Film.
Niniek L. Karim, who was cast as Farida, had a background in theatre. She reported that she didn't receive any special coaching for the film, as she knew what Karya expected.
Salim Said, writing for Tempo magazine, wrote that Ibunda was presented evenly and with realistic dialogue, as opposed to the more bombastic stories common at the time, which often featured dialogue which "could only be found in works of propaganda".[a] Ibunda showed a film within a film, which Said wrote harkened back to the 1981 film The French Lieutenant's Woman. The depictions of the characters are in accordance with the mannerisms of the Javanese middle class, without mixing Western acting styles.
Said noted the portrayal of a happy family in Ibunda was striking, especially considering Karya's films generally showed that family meant disaster. A write-up by Monash University notes that another theme is racial prejudice, as shown by the discrimination against Luke because of his ethnicity.
Ibunda received nine Citra Awards at the 1986 Indonesian Film Festival, out of 13 total categories, winning Best Film, Best Director, Best Actress, Best Supporting Actress, Best Music, Best Sound Editing, Best Editing, Best Cinematography, and Best Original Screenplay. This was a new record at the festival, surpassing Wim Umboh's 1972 film Perkawinan (Marriage), which won eight. At the 1987 Asia-Pacific Film Festival in Taipei, the film won a special award for intercultural exchange.
Ibunda has been licensed internationally to Between Three Worlds Video; the company has released the film on VHS, with English subtitles by the Australian company SBS Television.

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Teguh Karya

Teguh Karya

Teguh Karya was born Steve Liem Tjoan Hok on 22 September 1937 in Pandeglang, Banten. He was the 1st child of Chinese Indonesians Laksana Karya and Naomi Yahya ; there was some Bantenese descent from his grandmother. He attended elementary school in Pandeglang, but moved to Jakarta for junior high school, where he struggled with the exact sciences but did well in the creative arts and history.
Karya studied at the Academy of Art, Drama, and Film in Yogyakarta from 1954 to 1955. He then studied at the Indonesian National Theater Academy (Indonesian: Akademi Teater Nasional Indonesia, or ATNI) in Jakarta from 1957 to 1961, where he obtained experience as an actor. He later studied at the Eastâ€"West Center in Honolulu, Hawaii from 1962 to 1963.
Karya acted in Jenderal Kancil, while working at Hotel Indonesia as a stage manager. It was directed at children. That same year he established Teater Populer at his home in Tanah Abang, Jakarta, mainly from ATNI students; he often booked them to perform at Hotel Indonesia. The troupe later went on to produce critically acclaimed dramas, including 1971's Pernikahan Darah (Blood Marriage), 1973's Inspektur Jenderal, Kopral Woyzeck (Inspector General, Corporal Woyzeck), and 1974's Perempuan Pilihan Dewa (Woman Chosen by the Gods).
In 1971, Karya released his 1st adult-oriented film, Wadjah Seorang Laki-Laki. Two years later he released Cinta Pertama (First Love), which garnered him his 1st Citra Award and launched the acting career of its star, Christine Hakim. It was followed by three more romances, Ranjang Pengantin (Wedding Bed), Kawin Lari (Elope), and Perkawinan Semusim (A Season's Marriage).
Karya's most commercially successful work, Badai Pasti Berlalu, was released in 1977. Based on a novel of the same name by Marga T, it was watched by 212,551 people in its original run. It later won four awards at the 1977 Indonesian Film Festival.
Two years later, Teguh directed the historical epic November 1828, which received six Citra Awards. It was followed by Di Balik Kelambu, Secangkir Kopi Pahit (A Cup of Bitter Coffee), Doea Tanda Mata (Two Eye Marks), Ibunda (Mother) and Pacar Ketinggalan Kereta (Lover Left Behind by the Train).
Karya also directed sinetron, or Indonesian soap operas. He released his 1st sinetron, Pulang in 1987. In 1995 he directed Alang-Alang, sponsored by the Family Planning Coordination Board (Badan Kependudukan dan Keluarga Berencana), and the Johns Hopkins University Population Communication Services.
In 1998, Karya suffered from a stroke, which caused some memory loss and put him in a wheelchair for the rest of his life. He died in Mintoharjo Navy Hospital in Central Jakarta in 2001.
Karya's work was influenced by numerous directors and stage managers, including Asrul Sani, D. Djajakusuma, and Usmar Ismail.

Karya won numerous

Citra Awards.

In 2005, the Twilite Orchestra held a memorial concert featuring songs from Karya's films. Performers included people he had directed, such as Berlian Hutauruk, as well as pop stars like Krisdayanti and Ruth Sahanaya.
Karya never married, although he occasionally dated. When asked why, he said that there everyone had "rooms" in them, for art, friends, country, and other things; the order these rooms were filled was different for each person.

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